Very rarely has an experience with a show made me feel like I was watching something special. It's hard to put into words exactly what this series has meant to me over the years. I'm honored to see a new piece of the story every Sunday, and definitely feel a little lost as well, with only eight episodes left. It has given the weeks some hint of meaning.

The shot of Hawk near the end of the episode, as well as many other scenes, will definitely stay with me. Cole opening the door and seeing Laura is the beginning of the farewell; a farewell still too short, and still so much more gratifying than expected.

As many nooses as defeats in this temporal world
As much happiness as death in this miserable world
-Rafał Wojaczek

Unfortunately (feel free to argue why I'm mistaken) I remain unconvinced by the new series. Although some of the scenes, particularly the escape from the Black Lodge, are brilliant the overall set-up is far too self-indulgent (we don't need 3 min+ scenes of someone sweeping the Roadhouse floor or live music video at the end of each episode). Because of the fondness for scattershot scenes this series lacks the quirky small-town soap opera side which worked so well in the original. The original was more surreal scenarios unfolding out of a 'normal' dialogue driven case whilst this is more one long surreal scenario with interpolations of narrative conversation - this is understandable in part since it's focusing on the Black Lodge stuff, but it wouldn't have hurt to have given a little more time to the Albert FBI investigation at the expense of the endless mute Dougie scenes* and the as yet unfocused mobster plots.

*I don't mind the Dougie plot but it uses so much of what was already done, albeit mainly for comic relief, with Nadine Hurley in the first two series i.e. character is injured or traumatized in someway, develops absurd personality alteration but with a couple of preternatural talents too. It could have done with evening out by having more scenes of the 'other' Dale whilst imprisoned.

(Likewise I hope some of the older characters like Shelley will actuelly feature in this series plotwise; otherwise there really is no point having all those scenes of her [still] at the dinner, save for fan service)

Unfortunately (feel free to argue why I'm mistaken) I remain unconvinced by the new series. Although some of the scenes, particularly the escape from the Black Lodge, are brilliant the overall set-up is far too self-indulgent (we don't need 3 min+ scenes of someone sweeping the Roadhouse floor or live music video at the end of each episode).

I don't think you are mistaken at all Evans, even though my experience of the show is different from yours. My impression is that Lynch simply doesn't care what viewers think or need, and is making zero efforts to please or convince people. Instead, he seems to be just doing what he feels inspired to do, like any serious artist. Either one likes it or not. As someone who was deeply immersed in Seasons 1 and 2 when they were broadcast, much of Season 3 seems like a revelation. I also agree with those who consider it absolutely brilliant television, though again it's only a matter of personal taste.

I for one despise the banal scenes with mute Dougie and would rather watch someone sweep the floor for an hour than endure another moment of him. And being locked in a room anywhere near the imbecilic Andy and Lucy would be a special kind of hellish damnation. But for me, the otherwordliness of the Black Lodge washes away all these sins.

(Likewise I hope some of the older characters like Shelley will actually feature in this series plotwise; otherwise there really is no point having all those scenes of her [still] at the dinner, save for fan service)

... The original was more surreal scenarios unfolding out of a 'normal' dialogue driven case whilst this is more one long surreal scenario with interpolations of narrative conversation - this is understandable in part since it's focusing on the Black Lodge stuff, but it wouldn't have hurt to have given a little more time to the Albert FBI investigation at the expense of the endless mute Dougie scenes* and the as yet unfocused mobster plots.

...

(Likewise I hope some of the older characters like Shelley will actuelly feature in this series plotwise; otherwise there really is no point having all those scenes of her [still] at the dinner, save for fan service)

I respect what you're saying. Personally, I'd take more Albert and less music video (except for Rebekah Del Rio or Nine Inch Nails). Better yet, more Albert and more of Angelo Badalamenti's score.

I'm really curious to see what happens with the Shelley and Becky/Steve subplot. I'm wondering who Becky's father is - it would be painful to imagine the new and improved Bobby letting anyone (never mind his own daughter) being treated so horrifically.

Expectations do nothing but set one up for disappointment. This is why, despite my obsession with Twin Peaks, I tried not to follow the production of season three, or think about what I'd like to see happen, or what should happen. David Lynch's work is divisive. That's a good thing, it means he's an artist.

I was going to post a long-winded piece about my feelings on the new season, but, ultimately, it doesn't matter. I think it's brilliant and, like waffles, I'd like to see more Albert, and hear more Angelo Badalamenti and I could really do without the musical numbers at the Bang Bang Bar. Synth-driven art pop (if that's even a thing) just isn't my cup of tea.

If you are so inclined, check out Jay Dyer on his YT channel. He breaks down Twin Peaks and other things considered to be "esoteric" with authority. He is a super-bright guy who has a lot to say about a lot of interesting things, especially social engineering, Tavistock, SRI, MkUltra, etc., etc.

This series is giving me so much pleasure that I'm just submitting to whatever it throws at me, and convincing myself that even the bits I'm not keen on will grow on me in time.
I often find I like the episodes more on a second or third viewing.
I get the feeling that Lynch is seizing this rare opportunity to do a 17 hour Lynch movie and he's pulling out all the stops.
Self-indulgent? Sure, but I think rare geniuses of his calibre should be indulged.

There is much to chew on, much to not like, much to like, much to understand, much to not understand but in the end Lynch has made ART. He does not care what the viewers like or dislike. Some of it goes over my head, but I console myself that when I eventually get the DVDs of this season, I can chew Lynch's bone as long as I want. And, gosh, I hope someone, maybe Hawk, kicks that Horne brat's ass. Enjoy the ride!

Dougie will certainly be taken to the desert by those Mitchum brothers. That's what Vegas hoods do. I'm positive this will happen. I'm really interested to see how that plays out.

Also, it seems Dougie's storyline is ahead of the Twin Peaks timeline. The American Girl in the purple room from episode three's watch read October 1st, 2:53 PM. That's the date and time Dale was sucked into the socket and embodied Dougie Jones in Las Vegas. We know that those are significant dates and times, as they were instructions left by Major Briggs in his note. Perhaps, once Twin Peaks time catches up with purple room time, and once Hawk, Truman, and Bobby arrive at Jack Rabbit's palace on October 1st, 2:53 PM, which they agreed was their next course of action in episode nine, we'll see Cooper's personas merge in some way, or Dougie will "wake up" and become Dale Cooper again. Or perhaps, just as the Mitchum's are ready to execute Dougie, Hawk and the gang will enter the Palace and somehow suck Dale out of Dougie. I'm sure this won't all do down exactly as I'm expecting, but this may be close to how the Doug Jones storyline is resolved.